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Articles, Cinema, Cult Cinema, Reviews

Cult Film Review: Possession (1981)

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CULT FILM REVIEW: POSSESSION (1981)

Directed by Andrzej Żuławski

Screenplay by Andrzej Żuławski

Adaptation and dialogue by Andrzej Żuławski & Frederic Tute

Produced by Marie-Laure Reyre

Main cast: Isabelle Adjani, Sam Neill & Heinz Bennent

Cinematography by Bruno Nuytten

Edited by Marie-Sophi Dubus & Suzanne Lang-Willar

Music by Andrzej Korzyński

*** MAY CONTAIN SPOILERS ***

Andrzej Żuławski’s Possession (1981) is a film that doesn’t just defy genre—it annihilates the very idea of categorization. Part spy thriller, part domestic psychodrama, part Lovecraftian horror, and part apocalyptic hallucination, the film barrels forward with such manic intensity that it becomes less a movie and more an exorcism of the soul. It resists structural and emotional compartmentalizing at every turn, choosing instead to implode in a flurry of shrieks, flailing bodies, and gooey, pulsing monstrosities.

Set in a divided Berlin, the film ostensibly begins as a break-up story: Mark (Sam Neill), a shell-shocked spy, returns home to discover that his wife Anna (Isabelle Adjani, in a performance of pure, unrelenting hysteria) wants a divorce. But from there, the film spirals rapidly out of the realm of conventional melodrama and into something far more surreal and terrifying. Mark’s confusion curdles into obsession, Anna’s descent becomes biblical, and reality itself begins to warp and splinter.

Is it a Cold War spy film? Yes, but only in fragments, and those are quickly consumed by the escalating emotional chaos. Is it a break-up film? Certainly—but filtered through an expressionist nightmare where the grief and rage of separation erupt as literal body horror. Horror film? Undoubtedly, though the fear is less about monsters and more about the abyss that opens when love dies. And as the narrative crumbles into bloody symbolism and metaphysical dread, Possession (1981) begins to feel like an apocalyptic drama—one where the apocalypse is internal, intimate, and unstoppable.

Żuławski directs like a man possessed, matching his characters’ unhinged energy with a restless camera and wild tonal shifts. The result is a fever dream of shrieking confrontations, doppelgängers, collapsing identities, and one of the most infamous subway scenes in cinema history. Possession (1981) is not an easy film—it’s messy, abrasive, and frequently overwhelming—but it’s precisely in its refusal to conform that its power lies. Indeed, much of the dialogue is obtuse non-sequitur in delivery as the actors deliver prose-like philosophical statements that have clearly influenced the writing of Yorgos Lanthimos and Efthymis Filippou.

To watch Possession (1981) is to witness cinema used as a weapon against coherence, comfort, and calm. I almost had a panic attack watching it. Neill, usually a calm on-screen presence looks as though he is lost in a nightmare he cannot escape. Heinz Bennent, as the lover, fully embraces Zulawski’s insane vision, while Adjani literally has a mental breakdown on screen. It is an unbelievably fearless embodiment of psychotic sexuality, arguably only matched in a commercial release by Eva Green’s Vanessa Ives from the majestic gothic TV series, Penny Dreadful (2014-2016). Ultimately, Possession (1981), is as much about the disintegration of self as it is about the end of a marriage, the failure of ideology, or the horror of being alive. One doesn’t simply watch Possession (1981)—one survives it.

Cinema, Reviews

Cinema review: The Phoenician Scheme (2025) – plus Wes Anderson’s Top 11 films ranked in order of favourite!

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Cinema review: The Phoenician Scheme (2025)

Directed by Wes Anderson

Screenplay by Wes Anderson

Story by Wes Anderson and Roman Coppola

Produced by Wes Anderson, Steven Rales, Jeremy Dawson, John Peet

Cinematography by Bruno Delbonnel

Main cast: Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis, etc.

Reviewing films for me is a form of study—a way to sharpen one’s eye, expand one’s perspective, and gain insight into the craft of filmmaking. It’s a dialogue between the film and the viewer, where curiosity, analysis, and empathy fuel a deeper appreciation for the storytelling process. Yet, Wes Anderson’s films often feel unreviewable in the traditional sense because they exist entirely within their own meticulously crafted universe—one governed by its own visual grammar, emotional tone, and narrative rhythm. His work defies conventional cinematic benchmarks not because it fails to meet them, but because it invents new ones.

His films are stylized to the point of abstraction: symmetrical compositions, pastel palettes, theatrical performances, deadpan dialogue, and storybook framing devices. These are not aesthetic flourishes added to conventional storytelling—they are the storytelling. Every element is calibrated to serve a singular artistic vision that prioritizes mood, irony, and emotional restraint in a way that often bypasses mainstream emotional cues. As a result, trying to evaluate Anderson’s films on the basis of relatability or realism can feel like trying to critique a painting for not being a photograph. You either enter his world and accept its rules, or you don’t.

The Phoenician Scheme (2025) is a whimsically convoluted tale of betrayal, bureaucracy, and buried emotion, anchored by a surprisingly tender pairing: Benicio Del Toro and Mia Threapleton as an estranged father and daughter navigating a pastel-hued world of espionage, assassination attempts and eccentricity. Del Toro brings his signature quiet intensity—filtered through Anderson’s signature deadpan—as Anatole “Zsa-Zsa” Korda, a controversial businessman seeking backing from an array of peculiar business types. Threapleton, in a breakout performance, plays Sister Liesl, a guarded young nun.

As always, Anderson’s aesthetic is immaculately controlled—every frame a still life, every line delivered with just-so detachment. But where the plot sometimes meanders through its own labyrinth of quirk, the film’s emotional core remains grounded in Del Toro and Threapleton’s quiet push-and-pull: a relationship built on misread intentions, half-kept promises, and a strange kind of inherited stoicism. Michael Cera is on splendid form too as Bjørn Lund, a Norwegian entomologist, tutor, and Korda’s administrative assistant.

Overall, The Phoenician Scheme (2025) is best enjoyed as a moving art installation and while thematically strong in terms of the father-daughter-reconciliation theme, doesn’t reach the narrative heights of Anderson’s best work. It’s a visually charming and emotionally sincere entry—proof that even in a world of plane crashes, quirky business deals, weird relatives, religious fervour, eccentric guerrillas, the arc of connection between a father and daughter can still feel radical.

Mark: 7.5 out of 11

Wes Anderson’s Top 11 films ranked in order of MY favourites!

1. Rushmore (1998)

2. The Grand Budapest Hotel (2014)

3. The Royal Tenenbaums (2001)

4. Bottle Rocket (1996)

5. Asteroid City (2023)

6. Isle of Dogs (2018)

7. Moonrise Kingdom (2012)

8. The Darjeeling Limited (2007)

9. The Phoenician Scheme (2025)

10. The Life Aquatic with Steve Zissou (2004)

11. The French Dispatch (2021)










Netflix, Reviews

Netflix Film Review: The Piano Lesson (2024) – ghosts of the past and present haunt the screen with resounding power!

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Netflix Film Review: The Piano Lesson (2024)

Directed by Malcolm Washington

Screenplay by Virgil Williams & Malcolm Washington

Based on The Piano Lesson by August Wilson

Produced by Denzel Washington & Todd Black

Main cast: John David Washington, Danielle Deadwyler, Samuel L. Jackson, Ray Fisher, Michael Potts, Erykah Badu, Skylar Aleece Smith,
Corey Hawkins, and more.

Cinematography by Mike Gioulakis

Malcolm Washington’s directorial debut, The Piano Lesson (2024), is a poignant and evocative adaptation of August Wilson’s 1987 play, set in 1936 Pittsburgh. Through a compelling narrative and an exceptional cast, Washington explores themes of heritage, familial conflict, and the enduring impact of racial oppression.

Washington, alongside co-writer Virgil Williams, expands the original stage play’s confines by incorporating flashbacks and supernatural elements, enriching the narrative’s depth and scope. The film centers on the Charles family, particularly siblings Boy Willie (John David Washington) and Berniece (Danielle Deadwyler), who are at odds over the fate of a family heirloom piano. Boy Willie wishes to sell the piano to purchase land that once belonged to their ancestors, while Berniece views the instrument as a sacred connection to their past.

The piano, intricately carved with images of the Charles family’s ancestors, serves as a powerful symbol of their history and resilience. For Boy Willie, it represents a means to break free from the shackles of the past and build a future of self-sufficiency. Conversely, Berniece sees it as a testament to their survival and a link to the sacrifices made by their forebears. This dichotomy underscores the central conflict: the tension between honoring tradition and pursuing progress

The film delves into the complexities of familial bonds and the differing perceptions of heritage. Boy Willie’s desire to sell the piano reflects a yearning to move beyond the constraints of history, while Berniece’s attachment signifies a commitment to preserving their lineage. At the same time she mourns the loss of her husband and combats romantic offers from local suitors. Her struggles truly power the piece and the familial clashes further embody the broader struggle within African American communities: reconciling the weight of history with the aspirations for advancement. The supernatural elements, particularly the haunting presence of the plantation owner, Sutter’s ghost, are delivered effectively. They also amplify the narrative’s exploration of unresolved trauma and the need for reconciliation.

The ensemble cast delivers standout performances, with John David Washington portraying Boy Willie’s fiery ambition and Danielle Deadwyler capturing Berniece’s steadfast resolve. How Deadwyler did not even get an Oscar nomination for Best Actress in a Supporting Role is beyond me. Moreover, Samuel L. Jackson offers a subtle, unselfish and grounded portrayal of Doaker, the family patriarch. Washington’s direction ensures a respectful adaptation, balancing the play’s rich and passionate dialogue with cinematic elements that enhance its emotional resonance.

Overall, Malcolm Washington’s The Piano Lesson is a resounding adaptation that honours August Wilson’s legacy while providing a fresh perspective on timeless themes. Through its rich symbolism, compelling performances, and thoughtful direction, the film invites audiences to reflect on the complexities of heritage, the burdens of history, and the paths toward healing and progress.

Mark: 8.5 out of 11

Cinema, Reviews

Cinema Review: Mission Impossible – The Final Reckoning (2025) plus my 1-8 ranking of the franchise.

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CINEMA REVIEW: MISSION IMPOSSIBLE – THE FINAL RECKONING

Directed by Christopher McQuarrie

Written by Christopher McQuarrie & Erik Jendresen

Based on Mission: Impossible by Bruce Geller

Produced by Tom Cruise & Christopher McQuarrie

Main Cast: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Henry Czerny, Angela Bassett, Pom Klementieff, Esai Morales, Holt McCallany, Janet McTeer, Mark Gatiss, Nick Offerman, Tramell Tillman, Shea Wigham, Rolf Saxon, etc.

*** MAY CONTAIN SPOILERS ***

Christopher McQuarrie returns to helm the final chapter of Mission: Impossible, delivering exactly what fans have come to expect—exquisite stunt work, globe-trotting chaos, MacGuffins galore, and Tom Cruise running like the fate of cinema depends on it. What stands out during Dead Reckoning (2025) is McQuarrie’s deft layering of callbacks from across the franchise: masks, betrayals, teamwork, sacrifice and even thematic echoes to Ethan Hunt’s original arc as a man constantly outpaced by the very institutions he serves. I mean bringing back Rolf Saxon as banished CIA analyst, William Donloe, from the first film is absolute genius.

Further highlights include the icy St Matthew Island cabin shootout. Plus, the hauntingly atmospheric silent submarine sequence is an exercise in pure cinematic tension that, while a bit dark on the screen I saw it on, was incredibly designed and delivered. In the final thrilling act McQuarrie and his team flex their editing chops in a virtuoso ticking-clock sequence that cross-cuts a rapidly escalating nuclear threat with a spiraling physical stunt—clearly tipping its hat to Dr. Strangelove but with a modern blockbuster pulse. The bi-plane action that Cruise and the stunt team perform is just breathtaking. Lastly, there was also some emotional weight in certain scenes as Hunt shares touching moments throughout, especially with stalwart, Ving Rhames, Luther Stickell.

But while the ambition is laudable, one can’t help but question whether it all needed to stretch across a bum-numbing three hours, weighed down by dense exposition about AI, allegiance, and global power games. The storytelling sometimes forgets to trust the audience, explaining what we already understand or could intuit. It’s thrilling, yes—but occasionally exhausting, especially as Mission: Impossible – Dead Reckoning Part One (2023), had done a lot of the heavy work setting up the Entity and Esai Morales as the nemeses of the piece. Still, along with an impressive ensemble cast, expert production team and of course Tom Cruise doing what he does best, McQuarrie proves himself the rare modern action director who respects his audience’s intelligence and patience—even if he tests both.

Mark: 8 out of 11

MISSION IMPOSSIBLE – MY FAVOURITES 1 to 8

  1. Mission Impossible – Fallout (2018)
  2. Mission Impossible – Rogue Nation (2015)
  3. Mission Impossible – Ghost Protocol (2011)
  4. Mission Impossible (1996)
  5. Mission Impossible – Dead Reckoning (2023)
  6. Mission Impossible III (2006)
  7. Mission Impossible – The Final Reckoning (2025)
  8. Mission Impossible II (2000)
Amazon Prime, Cinema, Reviews

Amazon Prime Film Review: Sing Sing (2023) – displays the redemptive power of art and performance!

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Amazon Prime Film Review: Sing Sing (2023)

Directed by Greg Kwedar

Screenplay by Clint Bentley & Greg Kwedar

Story by Clint Bentley, Greg Kwedar, Clarence Maclin & John “Divine G” Whitfield

Based on “The Sing Sing Follies” by John H. Richardson and Breakin’ the Mummy’s Code by Brent Buell

Produced by Clint Bentley, Greg Kwedar & Monique Walton

Main cast: Colman Domingo, Clarence Maclin, Sean San José,
Paul Raci, Sharon Washington, Jon-Adrian “JJ” Velazquez, Patrick “Preme” Griffin, Sean “Dino” Johnson, Miguel Valentin and more.

Cinematography by Pat Scola

Sing Sing (2023) is a powerful prison drama directed by Greg Kwedar, based on the real-life Rehabilitation Through the Arts (RTA) program at New York’s Sing Sing Correctional Facility. The film follows John “Divine G” Whitfield (portrayed by Colman Domingo), a wrongfully convicted man who finds purpose and transformation through participation in a prison theatre group. As the group prepares to stage an original comedy, tensions arise, particularly between Divine G and a new, skeptical member, Clarence “Divine Eye” Maclin (played by himself).

The reported $2 million budget for the prison-based theatrical drama Sing Sing (2023) underscores a powerful truth in filmmaking: emotional impact and narrative power are not dictated by the size of a production’s budget. In an industry often dominated by multi-million dollar spectacles and high-concept visual effects, Sing Sing (2023) stands out as a reminder that authenticity, performance, and purposeful storytelling can achieve more than sheer spending ever could. In this way, the film charts a path forward for filmmakers: it shows that profound emotional connection comes not from lavish resources but from the courage to tell deeply human stories with clarity, care, and conviction.

By investing modestly but wisely—prioritizing casting choices, intimate direction, and a grounded script—the filmmakers harness the emotional gravity of the story itself. Featuring real formerly incarcerated individuals alongside professional actors, the film creates a resonance that can’t be manufactured with money alone. The restraint in budget mirrors the thematic focus of the film: confinement, transformation, and human dignity. There’s a raw, stripped-down sincerity in Sing Sing (2023) that aligns with its financial humility, allowing viewers to focus not on spectacle but on spirit.

At the heart of the film is Colman Domingo majestic performance. Without question he is one of the most enthralling actors working today. With a presence that radiates both gravitas and vulnerability, he has the rare ability to inhabit characters so fully that they feel less like performances and more like revelations. In Sing Sing, his work is restrained, generous, and deeply moving—serving not just as a lead, but as a quiet conduit for the emotional power of those around him. It’s the kind of performance that reminds you what acting is for.

There’s a grounded nobility to Domingo’s recent choices—films that matter, that uplift overlooked voices, and that seek to transform rather than simply entertain. In an era where so many talented actors get absorbed into the ever-expanding Disneyverse or other IP-driven machines, one can only hope that Domingo continues on this path. His gifts are too profound, too precise, to be flattened into quips and CGI battles. He belongs in films like Sing Sing (2023) where the stakes are human and the impact is lasting.

Directed with subtle power by Greg Kwedar he delivers a drama of transcendent creative expression as the inmates forge deep bonds, confront personal demons and change societal perceptions. Featuring performances by both professional actors and real-life formerly incarcerated individuals, Sing Sing (2023) offers an authentic and moving exploration of redemption, resilience, and the transformative power of art. Of course not all of them are innocent and are guilty. The film does not apologise for their crimes or glamourise them, but allows these men to find light amidst the darkness; a spiritual and cultural escape from the walls and bars which surround them.

Mark: 9 out of 11

Apple TV, Reviews

Apple TV+ Film Reviews – Part Two

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Apple TV+ Film Reviews – Part Two

As is standard procedure when one creates a part one of a series, the logical and linear progression is to have a part two. So, having watched the majority of the AppleTV+ films currently streaming I now move onto part two. The first set of reviews can be found here:

AppleTV+ Film Reviews – Part One

Coda (2021)

For some unknown alphabetical amnesia I forgot to include this Oscar -winning film in the first set of reviews, so I rectify that omission now. Arguably one of the best films on the platform, it is simultaneously a feelgood, tearjerker and a Save-the-Cat-screenplay-template-box-ticker hitting wholly familiar beats and a well-trodden genre path. Nonetheless, it is a terrifically entertaining, moving, funny and heart-warming story which, on reflection kind of surprisingly won the Academy Award for best film. I personally think another remake West Side Story (2021) was a far more scintillating work of cinema, but hey what do I know? My original review of Coda (2021) can be found below. Mark: 9 out of 11.

APPLE TV FILM REVIEW: CODA (2021)

Ghosted (2023)

Of late Chris Evans has been choosing roles, as with Red One (2024), that go against the Alpha-heroic persona of Captain America. Unfortunately, Knives Out (2019) aside, the results are average at best. Aside from a series of amusing cameos in the middle act, not even the alluring Ana De Armas can save this clunky AI-written-spy-romance. With better scripting and direction this attractive action fluff could’ve been almost bearable. I remember when Dexter Fletcher made really good low-budget indie films like Wild Bill (2011). Mark: 5 out of 11.

The Gorge (2025)

I really enjoyed this big-budget-romantic-monster shoot-em up. I need to watch it again sober before deciding if it is going to make my top films of the year list or did I love it because I was drunk. Miles Teller and Anya Taylor-Joy revel in fine on-screen chemistry as the physical and symbolic divide provides no barrier to their lustful wants. My full review can be found below. Mark: 8.5 out of 11.

Apple TV+ Film Review: The Gorge (2025) – an exciting sci-fi shoot-em-up with a nuclear-powered romance!

The Greatest Beer Run Ever (2022)

Likeable every-guy, Chickie Donohue (Zac Efron), has the crazy notion of hand delivering beer to his buddies fighting in Vietnam. But his naïve morale-boosting trip soon becomes an eye-opening and perspective changing nightmare. There’s a really good dramatic character arc in this historical 1968-set “road” movie but the comedic tone dilutes the overall catharsis of the journey. Efron is full of energy while the formidable presence of Russell Crowe is memorable if woefully under-used. Mark: 7 out of 11.

Greyhound (2020)

A fast-paced and technically impressive WW2 film with Tom Hanks portraying the Commander of a destroyer battling to survive an enemy onslaught amidst a part of the sea called ‘the Black Pit’. It’s been a while since I watched this but recall it being a solid suspense thriller with great production design and effects, although a little light on meaty character development. Mark: 7 out of 11.

The Instigators (2024)

Matt Damon and Casey Affleck team up once again for this underdog heist film which tries to be funny and dramatic, but misses the nuanced tone a director like Steven Soderbergh can deliver. I kind of enjoyed this because I like Damon, Affleck and Hong Chau, but many scenes suffer from the sense the actors are “improvising” and rewriting the script as they go along. Also, why can’t we have some proper 1970’s hard-boiled crime films like Sam Peckinpah and David Mamet used to deliver. Not all robbery films have to have one-liners throughout. Mark: 6 out of 11.

Killers of the Flower Moon (2023)

My critical feelings of Martin Scorsese’s most recent epic did not shift on the second watch. This profile of the horrors that befall the Osage people after they have struck oil remains compelling. Indeed the film contains powerful themes relating to the greed, power and psychopathy of the white man, but focusing the main thrust of the narrative from their perspective creates a skewed and oddly unimpactful viewing experience. Of course, Scorsese’s filmmaking expertise shines through and the performances are terrific. Mark: 8 out of 11. My full review is here:

CINEMA REVIEW: KILLERS OF THE FLOWER MOON (2023)

Luck (2022)

I felt more than a tad unlucky after watching this animated misfire which didn’t work on any level. I know hundreds of crafts-people worked hard creating this, but why not spend a bit more time on the script. Or film another script altogether. The fact that the budget for this film is reported to be $140 million and there are people starving in the world is a travesty against humanity. Mark: 3 out off 11.

Napoleon (2023)

I haven’t had the spiritual gumption to re-watch this messy biopic from Joaquin Phoenix and Ridley Scott. There’s a four-hour directorial version to contemplate watching too. Oh, if only Stanley Kubrick had made his version. My original review is below. Mark: 7 out of 11

CINEMA REVIEW: NAPOLEON (2023)

Palmer (2021)

Justin Timberlake again proves himself an adept leading man, having successfully graduated from the Disney-groomed production line he started out on. Palmer (2021) is overall a well-acted and directed redemptive crime drama, which also tackles themes relating to gender nonconformity to differentiate the well worn “parolee-trying-to-go-straight” narrative. Mark: 7 out of 11.


Sharper (2023)

Sharper (2023), directed by Benjamin Caron, skillfully uses classic con artist film tropes to craft a layered and compelling drama. By blending familiar elements of the genre with sleek cinematography and a nonlinear narrative, the film elevates itself above typical heist fare and leans into character-driven storytelling. The terrific cast, notably Julianne Moore, have fun with a genre script containing emotional depth, deliberate pacing, and decent characterisation. Mark: 7.5 out of 11.

Tetris (2023)

Tetris (2023), directed by Jon S. Baird, turns the unlikely origin story of a video game into a surprisingly engaging Cold War-era techno-thriller—at least for a while. Rooted in real historical tensions, the film smartly weaves espionage, corporate greed, and political paranoia into the story of how a simple puzzle game became a global phenomenon. However, its descent into exaggerated action sequences, particularly the climactic chase, turns it into something closer to parody than period drama. It’s a film that ultimately undercuts the suspense by choosing spectacle over substance. Mark: 7 out of 11

Apple TV, Reviews

Apple TV+ Film Reviews – Part One

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Apple TV+ Film Reviews – Part One

Apple TV+ has had an interesting trajectory since it launched in November 2019. While it entered an already crowded streaming landscape, it quickly distinguished itself—particularly with its high-quality original series, even as its film offerings have been a bit more inconsistent.

Apple TV+ has rightly earned a reputation for premium TV content, often described as “curated” and “prestige-focused.” Some standout series include: Ted Lasso, Slow Horses, Pachinko, Severance, The Morning Show, Bad Sisters, Dickinson, and many, many more. These shows share a few key traits: strong writing, high production values, and a willingness to take creative risks. Apple’s deep pockets have allowed them to secure A-list talent and give creators the freedom to execute ambitious visions.

When it comes to films, Apple TV+ has seen a less consistent track record. While the platform has had some critical hits, the overall output hasn’t matched the buzz or consistency of its series. Over the last year or so I have watched the majority of the films they have produced and have now consolidated them in a series of short reviews for your consideration. Marks out of 11 and links to the longer reviews where applicable.

A Charlie Brown Thanksgiving (1973)

A trip down memory lane watching this classic short focusing on the quirky adventures of hapless Charlie Brown, his friends and of course, Snoopy. Simple, but effective animation, and wonderfully mellow soundtrack make this a memorable comfort watch. Mark: 8 out 11

Argylle (2024)

Matthew Vaughn’s directorial career started really strongly and he soon carved out an excellent C.V. consisting of some fantastically entertaining genre films. But this tonally chaotic spy comedy-actioner is so laughably awful I actually thought I was watching an Airplane-style parody. The mildly-meta screenplay offers the occasional spark and Sam Rockwell is great as always. Mark: 4 out of 11


The Banker (2020)

Absorbing drama based-on-the-true-story of two entrepreneurs, portrayed brilliantly by Anthony Mackie and Samuel L. Jackson, who expertly circumnavigate the racism of 1950s while starting a successful real estate business. Nicholas Hoult also excels as the eager front man they employ to be the face of their business. Mark: 8 out of 11

Blitz (2024)

“. . . Blitz (2024) is McQueen’s beautifully filmed and noble testament to the strength and resilience of the human spirit during wartime.” Read the full review here. Mark: 8 out of 11.

Bread and Roses (2023)

A gut-wrenching documentary about the female activists protesting the oppressive decision to deny them the rights to education past sixth grade, work, and walking unaccompanied in public following the Taliban’s takeover of Afghanistan. One of those humanist documentaries that leaves you feeling depressed and powerless at the injustice of such grave socio-political events. The women at the heart of the film show incredible bravery in the face of threats, violence and ultimately murder. A compelling yet almost impossibly sad watch. Mark: 9.5 out of 11

Causeway (2022)

Character drama centring on themes relating to PTSD and grief, presents fine acting performances from Jennifer Lawrence and the fantastic Brian Tyree Henry. Compelling indie vibes bubble along without ever coming to a serious boil. Lawrence’s company co-produced this film and Bread and Roses (2023), before undoing a lot of the good work with the weirdly well-reviewed but pretty dire, fake-naked comedy, No Hard Feelings (2023). Mark: 7 out of 11.

Cherry (2021)

The Russo brothers certainly know how to deliver an entertaining and homogenous Marvel blockbuster, but this Tom Holland PTSD-burnout crime drama is over-directed, over-long and overall a painful misfire. Mark: 5 out of 11.

Emancipation (2022)

A very solid period drama with Will Smith as an escaped slave, Peter, who battles against the odds to find freedom. Covers much of the same ground as other better emancipation and war films, but Antoine Fuqua delivers stirring genre cinema with Ben Foster, once again, stealing scenes as a vicious slave hunter. Good story although the civil war fighting came too late in the final act structure for me. Mark: 7 out of 11.

The Family Plan (2023)

The normalization in Hollywood of the government assassin theme dominates this entertaining garbage with Mark Wahlberg as a suburban family guy with a hidden secret. Some okay gags and shoot-out action amongst the AI-created plot that’s based on about twenty different way better movies. Mark: 5.5 out of 11.

Finch (2021)

Tom Hanks stars as the eponymous Finch, in this stylish “last-man-on-Earth” apocalyptic drama. I loved the design and look of this film but dramatically it unfortunately it’s not as roasted as the radiated Earth it’s set on. Echoes of Castaway (2000) meets Silent Running (1972) but Hanks just doesn’t let rip as he did on the desert island or as much as the pulsating Bruce Dern did. So, Finch (2021) is mostly too sombre and understated for me to recommend wholeheartedly. Mark: 6.5 out of 11.

Fly me to the Moon (2024)

There’s a really good historical drama, a really good romantic comedy, a really good sci-fi-conspiracy thriller and really good satire in Fly me to the Moon (2024), however, such genres overlap and suffocate each other ultimately during the running time. Channing Tatum and Scarlett Johannson add shine and depth to their characters, yet the tonal shifts from serious space race drama to camp fake moon landing and filmmaking gags stop the film from really soaring into orbit. Still, there’s a lot to enjoy about this beautifully rendered and pacy late-60s era production. Mark: 7.5 out of 11.

Cinema, Reviews

Cinema Review: Black Bag (2025) – Christie meets le Carré in this stylish, sexy and witty spy whodunnit!

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CINEMA REVIEW: BLACK BAG (2025)

Directed by Steven Soderbergh

Written by David Koepp

Produced by: Casey Silver, Gregory Jacobs

Main cast: Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, Pierce Brosnan, etc.

Cinematography by Peter Andrews

*** MAY CONTAIN SPOILERS ***

Steven Soderbergh’s career has been nothing short of a cinematic roller-coaster, blending big-budget spectacle, indie sensibilities, and a keen embrace of genre films in ways that defy easy categorisation. What makes his career so distinctive is his ability to seamlessly navigate between these different filmmaking realms, constantly evolving while retaining a unique voice and artistic freedom. His latest film Black Bag (2025) is a striking, starry, and decent-budgeted genre effort.

Soderbergh first rose to prominence with Sex, Lies, and Videotape (1989), a low-budget indie that catapulted him into the spotlight. The film’s success established him as one of the defining voices of American independent cinema during the 1990s. His subsequent works, such as Kafka (1991) and The Underneath (1995), reflected his interest in experimenting with narrative structures and visual styles, blending genre conventions with deep, sometimes surreal exploration of characters. These works were still firmly rooted in indie filmmaking, but they hinted at a growing ambition and versatility in his cinematic process.

Then, in the late ’90s and early 2000s, Soderbergh took a bold leap into big-budget territory. His Ocean’s Eleven (2001) series stands as a perfect example of his ability to handle mainstream, star-studded films with finesse. It combined slick, fast-paced storytelling with elements of the heist genre, demonstrating that Soderbergh could not only handle massive budgets but could also bring style, wit, and substance to a genre film. However, Soderbergh was never one to be pigeonholed, and in the same decade, he also directed both Erin Brockovich (2000) and Traffic (2000), both socially conscious, multi-layered dramas, with the latter about the war on drugs. Traffic earned him an Academy Award for Best Director, proving that Soderbergh but could also tackle politically charged narratives with profound depth.

Having moved back to indie filmmaking with The Bubble (2005) and The Girlfriend Experience (2009), Soderbergh made another unexpected turn with Magic Mike (2012), which, despite its premise (a male stripper drama), was a sharp social commentary on gender, exploitation, and masculinity. This film not only tapped into a niche market but was also a critical success, further cementing his ability to bring depth to various genres, whether mainstream or niche. Even when he announced his “retirement” from directing in 2013, he still found ways to work in other mediums, such as producing and experimenting with quality television (The Knick), and in 2017, he returned to directing with Logan Lucky (2017), a heist comedy that balanced mainstream appeal with Soderbergh’s signature offbeat style.

Soderbergh’s ability to jump between blockbuster entertainment and intimate, experimental narratives has been the hallmark of his career. Yet for me his serious genre dramas like the aforementioned Traffic (2000), plus Contagion (2011), Side Effects (2013), and his most recent project, Black Bag (2025) represent the pinnacle of his narrative precision and impact, solidifying his reputation as one of the best directors in genre cinema. One could argue that Black Bag (2025) leans heavily on spy film tropes, yet it has a certain emotional and conspiratorial depth beneath the familiar beats and sheen.

What sets these films apart from the rest of Soderbergh’s career is the seamless way in which he blends his usual intellectual ambition with a masterful, almost surgical delivery of genre tropes. Whether tackling the global panic of a viral outbreak in Contagion (2011), the psychological twists of a modern Hitchcockian thriller in Side Effects (2013), or the high-stakes political intrigue in Black Bag (2025), where a deadly uber-weapon McGuffin falls into the wrong hands. Here master-agent George Woodhouse (Michael Fassbender) must track down a mole, who may-or-may-not be one of his colleagues or indeed his wife, Kathryn (Cate Blanchett).

Black Bag (2025), expertly combines spy-game thrills within a series of “who’s-cheating-on-who” twists. It certainly helps that Soderbergh is working with an exceptionally crafted script from David Koepp and a cast to die for. Fassbender, Blanchett and Tom Burke especially stand-out, with Fassbender delivering yet another masterclass in filmic understatement. Overall, it’s a viciously funny and sexy genre piece that combines Agatha Christie, classic espionage thrillers and Soderbergh’s trademark framing, lens and lighting tricks. It’s the kind of genre filmmaking where every scene, every act, every word, every frame and every moment serves a narrative purpose. It’s a handsome bit of cinema and my word is my Bond!

Mark: 8.5 out of 11

Cinema, Film Festivals, horror

Romford Horror Film Festival 2025 appreciation post!

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Romford Horror Festival 2025 – review and thanks!

The Romford Horror Film Festival in Essex has quickly become a key destination for both emerging and established voices in horror cinema. With a mission to champion independent filmmaking talent, the festival provides a crucial platform for new directors, writers, and producers to showcase their work to enthusiastic audiences and industry professionals.

One of the festival’s standout features is its dedication to fresh, original horror storytelling. By curating a diverse lineup of indie horror shorts and feature films, the event serves as a launchpad for up-and-coming talent, offering them exposure, networking opportunities, and even awards that can propel their careers forward. The festival frequently hosts Q&A sessions, panel discussions, and filmmaker meetups, giving creatives a chance to engage directly with fans and industry insiders.

Alongside its celebration of new talent, the Romford Horror Film Festival also pays tribute to the classics of the genre. Screenings of beloved horror films from the past ensure that attendees not only experience the latest innovations in horror filmmaking but also gain an appreciation for the genre’s deep roots. By blending the past and future of horror, the festival fosters a sense of community among horror enthusiasts, creating an environment where cinephiles, filmmakers, and genre veterans can connect.

I attended on the Saturday and watched my short film Inferis (2024), plus a stream of other amazing short films. I then got to see Lucio Fulci’s gore classic, Zombie Flesh Eaters (1979) on the big screen. A very entertaining Q & A featuring cast members including Ian McCulloch followed. The programme also contained several more Fulci horrors, Threads (1984), The Evil Dead (1981), Metropolis (1927), Man Bites Dog (1992), Razor Blade Smile (1998) and many other vintage classics alongside the best of new indie releases. If you love horror films then check out their website for future events here!

Cinema, New Releases

Cinema Review: I’m Still Here (2024) – A searing portrait of resistance in the face of military tyranny!

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Cinema Review: I’m Still Here (2024)

Directed by Walter Salles

Screenplay by Murilo Hauser and Heitor Loreg

Based on I’m Still Here by Marcelo Rubens Paiva

Produced by Maria Carlota Bruno, Rodrigo Teixeira and Martine de Clermont-Tonnerre

Main cast: Fernanda Torres, Selton Mello, Fernanda Montenegro, Valentina Herszage, Luiza Kosovski, Barbara Luz, etc.

Cinematography by Adrian Teijido

*** MAY CONTAIN SPOILERS ***

On March 31, 1964, the Brazilian military, with support from the United States and segments of the civilian population, overthrew the government of President João Goulart in a coup d’état. Goulart, a left-wing president who had been in power since 1961, faced rising opposition due to his policies that included land reforms and more progressive labour laws. These policies alarmed conservative sectors of society, including the military, business elites, and parts of the middle class, who for many feared the spread of communism in the context of the Cold War. From reports I have read, the military’s move was framed as a necessity to prevent Brazil from descending into a left-wing revolution, but the coup marked the beginning of a brutal 21-year period of military dictatorship. Be careful what you wish for.

Under the military regime (1964–1985), Brazil saw widespread censorship, repression of political dissidents, the establishment of a climate of fear, and the use of torture against suspected leftist militants and activists. The military government justified its actions as necessary to combat communist insurgency, but its reign was characterised by systematic violations of human rights. The regime implemented institutional acts that curtailed democratic freedoms, silenced political opposition, and controlled the media, all while claiming to defend the country from Marxism. The dictatorship lasted until 1985, ending when the military handed power back to a civilian government, but the effects of this period are still deeply felt in Brazilian society, as many families continue to search for the truth about the victims of torture and forced disappearances during the dictatorship.

Yet, while the film may not explicitly focus on the 1964 coup or the military dictatorship. I’m Still Here (2024) addresses the aftermath and themes of identity, resistance, and survival in the face of oppressive systems. Director, Walter Salles, uses the personal as a lens through which broader social and political issues are explored. One could consider how the legacy of fear, control, and the impact of a regime still reverberates in contemporary Brazil.

In I’m Still Here (2024), the filmmakers take a distinctive approach to the thriller genre by moving away from the typical tropes associated with suspense-driven narratives. Instead of focusing primarily on action or a series of dramatic plot twists, the film shifts its attention toward a more intimate, personal, and familial story. There is suspense and tension, but it is more under-stated and subtle. This departure from overt political thriller conventions allows the film to delve into the emotional and psychological terrain of its characters, with a particular focus on the matriarch, Eunice Paiva, played by the powerhouse Fernanda Torres.

Rather than relying on external action or traditional thrills, I’m Still Here (2024), centres around Eunice’s emotional journey and the impact of her environment on her family when her husband, Rubens Paiva (Selton Mello) is taken away by what may-or-not-be the military. The film positions Eunice as the central figure whose personal evolution drives the narrative, illustrating the profound effects of her choices and relationships on her family. Salles skilfully weaves family celebrations, events, and home movie footage to create a swell of warmth amidst the fear and paranoia created when Rubens disappears.

Eunice Paiva’s character is given a powerful depth in I’m Still Here (2024), with Fernanda Torres delivering a standout performance. Rather than positioning Eunice as a victim or a purely heroic figure, the film complicates her character, showing her as a multifaceted individual. Eunice’s actions are driven not by external thrills or pressures, but by the emotional and psychological burdens she carries as a matriarch, dealing with familial responsibility and navigating the complexities of her relationships with her children, spouse, and extended family.

Torres’s portrayal emphasises Eunice’s inner conflict—her desire to protect her loved ones, while also grappling with personal loss, regret, and the external societal forces that shape her world. Constantly denied answers and closure by the authorities, Eunice refuses to give in and continues to fight for decades, even when the military rule is over. The emotional intensity of Eunice’s character arc is one of the most compelling aspects of the film, as Torres’s performance brings a deep authenticity to the role, grounding the story in real, human struggles rather than sensationalised action.

By moving away from traditional thriller tropes, I’m Still Here (2024) creates a more reflective and intimate cinematic experience. Rather than simply delivering suspense through external action, the film explores the internal tensions of its characters and their relationships, magnifying the quiet, profound impact that such personal struggles can have on a family. Having lived through such adversity the Paiva family would stand proud in the face of this evil regime, overcoming all that is thrown at it. I mean, there is so much evil in this world and throughout history, that Eunice Paiva and similar quiet heroes are to be cherished. In short: why can’t such admirable individuals run the often horrible world we live in.

Mark: 8.5 out of 11